Domenico Zampieri, called Domenichino

Possibly Sir Joshua Reynolds;
Thomas Hudson (L.2432);
An unidentified collector's mark (L.619a);
Charles Kindersley-Porcher, Dorchester;
Purchased in 1920

Laid down on an old mount. There is an old diagonal crease to the upper left quarter and some very minor areas of surface dirt. The chalk has been slightly rubbed, however the image remains clear and the paper blue.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The subject of this fine drawing, a highly characteristic example of the artist's draughtsmanship, has long been identified as a depiction of God the Father.  It would seem, however, that the dynamic male figure portrayed is actually closer to those seen in Domenichino's fresco of The Calling of Sts. Peter and Andrew, in Sant'Andrea della Valle, Rome, regarded as one of the artist's masterpieces.¹  From the evidence of a surviving compositional scheme at Chatsworth,² as well as numerous figure studies in Venice³ and Windsor,⁴ we know that Domenichino continually adapted and revised his figures during the development of this important composition, and it is perfectly possible that the present sheet served as a preliminary thought for the Saint on the far right of the painted composition, who is similarly portrayed with his arms outstretched.

1. See R. Spear, Domenichino, London 1982, fig. 286
2. Ibid., fig. 287
3. Ibid., fig. 288
4. Ibid., figs. 289-292